BURDEN OF THE BADGE
by SANDEFUR
Summary: You never know when you will stumble upon a crossover moment.


BURDEN OF THE BADGE

by SANDEFUR

(This is a rewrite of an earlier story as I was not satisfied with the original.)

Once or twice a month, the members of the Women's Murder Club would meet for a ladies' night out—just to socialize and reinforce their bonds of friendship. No husbands, boyfriends or significant others were allowed. Tonight, Inspector Lindsay Boxer, medical examiner Dr. Claire Washburn and Deputy D.A. Jill Bernhardt have been joined by their newest and youngest member, San Francisco Register crime reporter, Cindy Thomas.

Cindy was desperately eager to gain the approval of the other ladies, especially Lindsay. Nervously, she was beginning to realize she has a growing crush on the beautiful, raven-haired detective. This was unsettling because Cindy has never felt this way before about another woman, and is uncertain how to proceed. She just knows she wants Lindsay to like her, and to continue to mentor her as she began her career of crime reporting.

So, Cindy searched high and low through the endless list of the city's restaurants, since this was her first opportunity to pick for the group. Her choice is Otto's Tyrolean Café, an eclectic place in an increasingly trendy neighborhood. The others were reluctant, after all, Tyrolean food? But the place turned out to be a pleasant surprise. Located in a converted hardware store, the good food and friendly service guaranteed that tourists would eventually find the place and ruin the charming ambience.

Seated at a corner table with a green and white tablecloth, the four friends linger over coffee and dessert. The large dining room is amply decorated with the fascinating artwork of area college students. A nearby art sculpture—a mix of many recycled objects welded together—was drawing comments…

Claire remarks, "It's either genius or crap. I'm on the fence as to which."

Jill firmly states, "I'm going with genius. It's a bold and powerful piece."

Cindy adds, "I love the flow of the lines. It draws you in and makes you think."

Lindsay snorts derisively. "It makes you think people don't know the difference between an artist and a con artist. Anyone can twist up a bunch of tinfoil and call it art."

Jill asks, "Are you saying there's no creative skill in this? Could you do something so original and creative?"

"I wouldn't be 'creative' in that way—my mind doesn't work like that, thank God. But having seen the piece, I could duplicate it, and that's the test. If a non-artist like me can do it, then it's not art."

Claire asks, "But isn't the artistry in the creative process?"

Cindy reluctantly adds, "Yeah…that's like saying you're a writer if you can copy someone else's story word for word."

Lindsay shakes her head. "It's not the same thing at all. An artist should have an unduplicatable skill, an original voice or view that other's can only envy."

Smiling, Jill retorts, "What about art forgers? Their skill is undeniable, and they regularly duplicate the great masters."

The other three wait with great anticipation for Lindsay's response. Getting the hot-blooded detective worked up over some debate point was an old and favored game in the group. However, Lindsay goes strangely silent as she closely scrutinizes a young couple that has just entered the restaurant.

Claire sighs. "She's doing it again."

Jill nods. "She claims she can't turn it off."

Cindy adds, "She once called it the 'burden of the badge', which would make a great story title."

Lindsay finally notices their remarks and asks, "What are you three babbling about?"

Jill chuckles. "You were doing that cop-thing again. Every time we go out, you always pick a seat with your back to the wall, and in a spot where you can see everyone who enters."

Claire continues, "Then each new person gets the Lindsay Boxer 'threat assessment' inspection, no matter how innocuous they may be."

Lindsay shrugs. "This is a skill I've honed during my career as a cop, and yeah, I never turn it off because it keeps me alive. What I do can't be turned off, unlike a medical examiner, a prosecutor or a reporter."

Cindy protests, "Hey, just like you, I'm on the job 24/7. Every new person or situation is a potential story. But I'm interested in what's involved in this threat assessment. Is it a Sherlock Holmes kind of thing? Tiny clues that tell all?"

"It's more an evaluation of overall attitude, way of moving, style of dress and so on."

Claire asks, "Judging a book by its' cover?"

"Book covers don't happen by accident. People make a conscious choice in how they present themselves to the world."

Jill nods her agreement. "I get that all the time. The depraved lunatic you meet before the trial suddenly transforms into someone who looks like you interrupted his usual routine of church going and charity work. You would be amazed by how many juries are swayed by the defendant's appearance instead of evidence."

Cindy says, "Maybe a practical demonstration would help, Lindsay. You were studying the young couple who just came in for longer than usual. What drew your attention?"

"You want a look at my own brand of artistry? Okay, but you guys go first. How would you assess those two?"

Claire quickly replies, "Both are young, around 19 or 20. Both medium height, slender but well nourished…"

Lindsay shakes her head. "This isn't one of your autopsy reports. Tell me who these people are."

Jill tries. "College students for certain, and a romantic couple. See how the guy looks at her with complete adoration?"

Cindy adds, "And they are regular and valued customers. Notice how the maitre'd called the owner over to personally greet them?"

Claire concludes, "They are an innocent, loving couple who rate a zero on the threat assessment chart. So, how did we do?"

Lindsay smiles. "Not bad. I agree they are college kids, but they aren't a couple—at least not currently. He definitely adores her, but see how she hesitates when he takes her arm? She's fond of him, but there's something in their past that makes her wary. I'd say they once were a couple, but broke up when he hurt her in some way. Still, they are together, so this might be a special evening where they are attempting a reconciliation. Also, they're not regulars here."

Cindy asks, "How can you tell? The owner went out of his way to personally greet them."

"The girl is looking around like she's never seen the place, and the guy had to introduce her to Otto."

"Then maybe the guy is a regular here?"

"He doesn't look like he can afford this place on a regular basis, and notice the vague, in a world-of-his-own expression he has? He's either a stoner or does something creative. I'll bet he's one of the artist's on display here, which explains the personal meet and greet from the owner."

Claire says, "But something caught your attention about that pair. Was it the girl?"

"Definitely. On the outside she looks sweet and innocent, but her eyes—the windows to her soul—tell a different story. She's seen a lot of weird crap in her day, and she had to toughen up at an early age. I've seen the same look in the eyes of returning combat veterans, and those who have been in prison."

Jill dubiously comments, "Is that your guess—military or ex-con? Because I'm not getting a vibe on either of those."

"Nor am I. I just used those as examples, but if she were part of one of my investigations, I'd definitely give her a hard look."

"Maybe she's known personal tragedy or struggle? Many people do." Claire says as she thinks of her wheelchair bound husband.

The table becomes silent in acknowledgement of Claire's situation, and in contemplation of the various hard knocks life has handed each of them. Meanwhile, the young couple is escorted by their table, and they pause at the sculpture that was under discussion. The guy speaks…

"Here it is, Jane."

The girl responds, "Oh Adam, it's beautiful. You've definitely grown as an artist since coming to Berkeley."

"And Otto promised us the booth under my mural."

Led by the maitre'd, the young couple are escorted to a table on the opposite side of the restaurant. As they sit, the four women notice the mural. It is a restaurant scene, possibly a French café, where an artist sketches a lovely young lady.

Claire notes, "That mural…the artist in the picture is that guy, and she's the girl! Oh, I'm definitely off the fence. This guy's work is genius."

Cindy says, "And she seems suitably impressed. I know if some guy did that for me, I'd jump his bones at the first opportunity…"

The red-headed reporter blushes as she suddenly realizes the nature of her remark.

Jill says, "Speaking of being impressed, I think we should all congratulate Lindsay. You were certainly right about the guy being an artist here. Too bad we can't confirm the rest."

Cindy begins, "Maybe we can…"

She beckons to the passing restaurant owner. Instantly, and with an ingratiating smile, Otto joins them.

"Was everything to your satisfaction?" Otto asks with a slight European accent.

Cindy replies, "Everything was wonderful. I'm definitely recommending your place to the restaurant critic at the newspaper where I work."

"You're from the press? Thank you, that would be wonderful."

Lindsay flashes her badge. "And we were curious about the young couple that was just seated. Nothing official, but we would appreciate anything you could tell us about them."

"Oh, what can I say? Adam is an art major at Berkeley, and a nice, quiet fellow. As you can see by his mural, he is a truly gifted young man. I anticipate he will one day have a great name in the art world. Who knows, that mural might become more valuable than this building."

Lindsay asks, "And the girl?"

"Her I only just met. She is Adam's old high school sweetheart, Joan…somebody. It was an Italian name."

Jill asks, "Joan? I thought he called her Jane?"

"Perhaps I confused names. She is a pre-law student back in their hometown of Arcadia…that's Maryland, I think. I get those small, east coast cities confused. Adam has been on pins and needles about their reunion. He is hoping the two of them can patch up their differences. I think that is about all I know. Can I be of any further service?"

Lindsay replies, "No thank you Otto, you've been very helpful."

As Otto walks away, the four women refocus their attention on the young couple.

Cindy remarks, "Aww, they're holding hands. Isn't that sweet?"

Jill responds, "Almost sickeningly so. Lindsay, you were right about their relationship, but where's that mysterious, tough life of hers? Pre-law in Arcadia Maryland hardly speaks of an adventure novel background."

Claire says, "I'm not so sure. There's definitely something different about this Joan/Jane girl. She's doing the same thing Lindsay does. Every person she's met or seen since she came into the restaurant has been given a seraching, assessing once-over. It's as if she expects to find some special trait in someone, but she's not sure who."

Lindsay shrugs. "And that's where the mystery will have to end. I have an early start tomorrow."

Jill adds, "As do we all. Ladies, as usual, it's been fun."

With that, the four friends prepare to depart. Belongings are gathered, a generous tip is left, and fond, casual farewells are said. Only Cindy lingers at the table.

Claire says, "Cindy, are you coming? I have a husband and kids I have to get home to."

"You go on without me. I'll catch a cab later on. Before I go, I'm going to speak to that young couple. I'll offer to do a profile on our brillant young artist. That will gain me access to the girl."

Lindsay reacts, "For heaven's sake, why? We were just goofing around with that game of speculation."

"No, you were right about all of the other details, and I've got a reporter's hunch you were right about the rest. My guess is, there's a fascinating story connected to this...Joan of Arcadia."

The End. Please review.

(In honor of Barbara Hall, who was consulting producer to the women's Murder Club, and creator of the deeply missed Joan of Arcadia.)


End file.
